Logistical Preproduction | Jwhiteual132024

Logistical Pre-production

Welcome to the logistical preproduction page. Here you will find all of the logistical considerations/documents that I have taken/completed in order to be fully prepared and aware of when and how something is happening. Logistics are particularly vital in my production because it entirely relies on other people and their contribution to the subject topic. With the contributions of others, I will need to think about location, timings, travel, consent and a multitude of other problems to overcome.

As the 1st scene of my documentary is formatted as a film, I have decided to split the preproduction work on the page just like this, starting with scene 1 (the film segment).

Film (Scene 1)

Here you will find all relevant logistical preproduction for Scene 1. This section will allow me to understand what I’m doing (referencing creative pre-production), when and where it’s going to be done, and how it’ll be done too. By the end of this section, if I have any logistical questions what-so-ever I should be able to come here to get my answer.

Along with all of this, safety is also a big factor to think about when shooting a film, so I will cover this in my risk and location assessments.

Production Schedule

This is the production schedule – it’s purpose is to allow me to understand, in a bit more detail than just the date of filming, what and when I’m doing something. You can see that I have written all of the required activities that will need to be completed throughout the day and have given them a rough time estimate. This time estimate is purposefully quite generous as it allows me to understand the maximum amount of time I might need, and therefore, more importantly, might need the actors for. The schedule will allow me to keep a track on if im behind, ahead, or on schedule during my production day.

Call Sheet

1st April - Filming Scene 1

The call sheet is designed for all participants with the filming session (cast + crew). It includes all information needed to know including contact info, which, in case, for example, allows me to contact the cast if plans are changing or something happens.

Its not as descriptive as the production schedule in terms of the timings as, to be honest, that’s not the point of it – the cast don’t need to know all the info that’s on the production schedule.

Location + Risk Assessments

Stairs

Dining Room

I have decided to link the risk and location assessments together as they actually work very well to view together. The idea of the location assessments are that they include all necessary information regarding the location of the scene. An important aspect of the document in comparison to the location assessments for the ‘documentary section’ of my final production, that you’ll see momentarily, is the ‘creative justifications’ box at the bottom. As I’m shooting a film here, the location does not have to be true and accurate to a specific person or thing; I have full creative reign to choose where I shoot these shots. I have been able to fully explain and justify my choice for both locations which has filled me with great confidence that the decision I am making is a justified one.

Within the location assessments, I do briefly mention the identified hazards within the location but have redirected those reading to a more detailed assessment – the risk assessment.

I have learnt many skills throughout the duration of this course, and although it sounds very niche, I’m very happy with my ability in producing a detailed and cohesive risk assessment. This assessment is important and vital to the production as it allows both me (crew) and cast members to feel safe when shooting.

Equipment list

1 Camera – Canon 90D

This camera is the camera I have most experience with and will be what I need to capture all visual elements for the film segment.

1 Tripod

I will need this tripod to position the camera in specific ways that suit the requirements for the framing of my composition. It’s a standard fitting tripod with a base plate to help hold the camera secure and in place. This will be needed for my production because all of my shots are static, meaning I want them to be perfectly still, creating the ominous feel I am after.

1 Shotgun Microphone

The shotgun mic is highly sensitive and directional, allowing me to pick up the highest sound quality in a controlled environment/room. This is a perfect choice for recording sound effects as I am able to achieve a highly sensitive audio recording to manipulate in the post production stage.

1 Sound Recorder

The sound recorder will be used to capture the audio received through the microphone. It has an XLR cable input at the bottom, which is the same output channel as the microphone. I have a lot of experience with using this, which adds to the suitability of the device.

1 Set of Headphones

These headphones will allow me to listen back to the audio being picked up and recorded through the sound recorder, therefore allowing me to adjust the mic accordingly to gain the best audio quality.

1 Telephoto zoom lens (75-300mm)

This lens will be crucial to be capturing the close ups of the eye that I am after within the scene. It allows me to get a close up of the eye whilst still being able to focus the image.

Standing lights

These lights will be required to light the actors within scene 1 to create shadow and contrast. This will allow me to suit the conventional requirements of a horror film. They are powered by both plugs and batteries, meaning that if power sockets are not available, then the battery can be charged.

SD Cards

The SD card is vital as it allows both my video and audio to be recorded and saved physically on a memory card. Without this, I would not be able to shoot video or record audio as there is no where for the camera/sound recorder to save it to.

This is my equipment list for the film section of my production. The purpose of this section is to ensure that I have all the necessary hardware I need in order to shoot the required shots. I will be using this document on the night before and the morning of the shoot to run through and double check that I have everything. This is vitally important as if I forget something, it could lead me to falling behind schedule and having to make back time.

Contributor Consent Forms

Judith

Oliver

Paul

These contributors' consent forms allow me the legal rights to film my contributors and edit them into my documentary. This is a legal document that is vital to my production.

This is very similar for the location consent form too (seen below) except this one allows me the legal rights to be filming on private property at a designated date.

Location Consent Forms

House location release form COMPLETE.JPG.jpg

Documentary (After Scene 1)

Here you will find all logistical preproduction documents for the documentary part of my production. I will be working with external participants who will not be acting, but instead, as it’s a documentary, simply being themselves. This section will be important because I will need to be able to co-ordinate with participants and understand where, what and when I’m shooting. Due to the amount of different people I am going to be speaking to within the documentary, it’s important that all of these documents are clearly labelled and written for easy understanding.

Production Schedule

24th March - Judith + Eddie Interview

26th March - Jolene Interview

29th March - Erin Interview

12th April - Tom Interview

Here are the production schedules for m production days. You can see that the difference between this and scene 1’s schedule is that there are multiple for different dates. The schedules themselves are shorten, due to the lack of different ‘shots’ needed to shoot, but there are more of them overall. These production schedules will help to ensure that I’m on time and understand what I should be doing.

A particular point I would like to point within my scedyle is the note I made regarding working with animals. I made the decision to do this as I felt as if it was an important health and safety note to make.

Call Sheet

24th March - Judith Interview

26th March - Jolene Interview

24th March - Eddie Interview

29th March - Erin Interview

12th April - Tom Interview

Due to there being 5 interviewees, as stated in the production schedule too, it’s important that I’m able to understand and access this information easily. These call sheets I have created are here to provide me with the base logistical information I need to know for each shoot.

Thinking about health and safety, I have also noted the nearest hospitals to those shoots being filmed in person.

Location + Risk Assessments

Living Room

Garden

Eddie's Bedroom

Jolene's Living Room

Jolene living room location assessment.JPG

Hemel Hempstead Meeting Room

This location was not actually used, but had created these forms before understanding that the location was changing.

Kitchen

Here are the location and risk assessments for my documentary. A few of these locations have multiple uses (a particular case being the living room), so I have listed this clearly within the health/safety issues and creative justifications.

I have thought very carefuly about the hazards within these risk assessments as I want to ensure that the filming process with my interviewees goes smoothly, professionally and safely. For the most part, a lot of risks I found were very low risk levels, but it’s still important to be aware of them as this provides me with one less thing to worry about on production days.

Equipment list

2 Cameras – Canon 90D

This camera is the camera I have most experience with and will be what I need to capture all visual elements for the documentary segment. I will be using the kit lens for this, as this will suffice the requirements of my production: the mid-shot and tighter, close up will be able to be filmed through this.

2 Tripods

I will need these tripods to position the camera in specific ways that suit the requirements for the framing of my composition. It’s a standard fitting tripod with a base plate to help hold the camera secure and in place. This will be needed for my production because I the cameras must be positioned the way I want them to be, and they must be static too. Furthermore, as there are 2 cameras, and only 1 of me, I need something else to hold the camera.

Wireless LAV microphone (radio mic)

Through my research, I have been able to understand that these LAV microphones are a great option for me and my production. They give great audio quality, and do not require me to position a microphone near the subject, as they are already attached to them. I will be able to monitor the audio quality of these through the use of headphones and listening to it via the camera.

1 On-Camera Rode Microphone

This microphone will link directly through the camera, acting as a back up from the radio microphones. The microphone has a super-cardioid pattern, meaning that it is has a tight recording direction. This provides good quality back-up audio in case of any problems with the LAV mic.

1 Set of Headphones

These headphones will allow me to listen back to the audio being picked up and recorded through the sound recorder, therefore allowing me to adjust the mic accordingly to gain the best audio quality.

Standing lights

SD Cards

This is my equipment list for the documentary section of my production. The purpose of this section is to ensure that I have all the necessary hardware I need in order to shoot the required shots. I will be using this document on the night before and the morning of the shoot to run through and double check that I have everything. This is vitally important as if I forget something, it could lead me to falling behind schedule and having to make back time.

Contributor Consent Forms

Jolene

Eddie

Judith

Erin

Tom

These contributors' consent forms allow me the legal rights to film my contributors and edit them into my documentary. This is a legal document that is vital to my production.

This is very similar for the location consent form too (seen below) except this one allows me the legal rights to be filming on private property at a designated date.

Location Consent Forms

Extra Logistical Preproduction

Gantt Chart

I have also produced a gantt chart, which I have placed because it includes all aspects of production and post production too. I am very pleased with the gantt chart I have produced as it’s easy to read and allows me to understand, on a much larger timescale, what I should be doing and what the next objective is. This will help me to keep track of where I’m at and whether I’m on schedule. This is going to be very useful for me as I sometimes get lost in the sea of lots of small tasks, sometimes forgetting about the wider, primary task I am trying to complete. I also find myself becoming distracted with smaller tasks, so this will help to keep grounded to what I should really be doing.

Post-production Schedule

I have produced a post-production schedule as this helps to direct me in the right way regarding tasks that need to be done for post production. The aim with this schedule is that if I am to follow the task that needs to be completed each day, I should have no problems finishing the edit, to a high standard, in time for the final deadline.